Punk's Got Soul and We've Got More Triple Song Titles

A tip of the hat to Hal, who recently found the blog and was inspired to send in two dozen Triple Song Titles from his own digital music collection! Why on earth hasn't "Please Please Please Let Me Get What I Want" been included until now?  Heaven only knows.

We still haven't identified the mystery artist who performed "Really Really Really" (see my last post for the details, or lack thereof) -- but Koen and I each found another song with that same title. Really, we did!

I added a couple more triples to bring the set closer to the 80 minute mark, because you triple title fans have no doubt burned every one of these collections to CD. I know I haven't!  

Hal also suggested a perfect tune for the Punks Got Soul series, Serious Drinking's swell version of Candi Staton's "Young Hearts Run Free".  Thanks again, Hal!

James (another friend of the blog) nominated Lizzy Mercier Descloux's "Funky Stuff", and Richard found Akron band Chi-Pig's recording of "Going To A Go-Go".  Greetings and gratitude to all involved!

I finally found a way to get my man Moon Martin onto one of these compilations, with his version of "Boogie Woogie Country Girl" (with Jude Cole on guitar and BV).  There's a swell set of Moon Martin classics over at One Buck Guy's blog.  

They aren't all punks (there's some new wave, post punk, garage rock and whatnot), and it's not all soul (disco, funk, and R&B are present). Nevertheless, please enjoy Punks Got Soul #11 as well as Kill Kill Kill (Triple Song Titles #45).

ELSEWHERE ON THE BLOG:  much more Moon Martin.

Beat That Dead Horse One More Time: Punks Got Soul Vol. 10

Here it is -- again -- and it's called... PUNKS GOT SOUL 10! (Saw you in a mag, kissing a man, saw you in a mag, kissing a man, smoking a fag, kissing a man, saw you in a mag, PUNKS GOT SOUL 10!)

Really the only punk song on here is the last one (by Snuff), although I suppose that some of these geezers used to be punks.  There's the Clash, Red Rockers (the "American Clash" back before they went new wave), and Johnny Thunders.  Alex Chilton, if being sloppy drunk in the studio counts as being a punk. 

At a stretch, you could add Hazel O'Connor and Elvis Costello.  Maybe even Mick Hucknall (that ginger bloke out of Simply Red) -- he was once in a punk band.  Divine probably out-punked them all in terms of attitude and REAL rebellion against social norms.  Grace Jones, too. They were punks before you or I was a punk.

Anyways, here's the tenth in a series that I never thought would go this far, and a series that has been relatively popular in terms of downloads.  Collect them all!

Pixeldrain seems to be working at the moment, but (as always) if you ask politely, we will upload new links to another host. ("Any help?" is a comment that I deeply dislike.  Get some help from Ella Jenkins or Miss Manners, you impertinent punk!) 

Today I replaced a number of dead Krakenfiles links from 2022-23, including my MKE 80 comp of singles and EP's released by Milwaukee artists in 1980.  

There are a dozen songs on my laptop in a folder called "Punks Got Soul v11", and I'm opening up the request line.  So if you're having a good time dancing with your baby, pick up the phone and ask (nicely), "Hey Mr. DJ, can you play that song..."

Again with The Punks and The Soul

As I compile more volumes of “Punks Got Soul”, I continue to ponder the value of assembling what are (in many cases) inferior versions of classic original songs.  There are some worthwhile reinterpretations of soul music here: from the odd (Talking Heads’ take on “Take Me To The River”, or “Money” by the Flying Lizards) to the pulse-quickening punk covers (I still get a thrill from “Slow Down” by the Cannibals and “Heat Wave” by the Jam) and the genuine love, enthusiasm, and musical quality of some of the more faithful covers by folks like Graham Parker, Chris Bailey, and Elvis Costello.  There are plenty of “classic soul” compilations out there if you want to hear the brilliance and passion of the originals.

But it’s troubling when you consider the history of the music industry (segregating Black artists, cheating them of songwriting royalties, and literally stealing songs).  Most of the musical innovations of the 20th century (blues, jazz, gospel, R&B, rock, reggae, hip hop and electronic music) are Black creations that have been co-opted by white performers who achieved more success and acclaim than the originators who inspired them. And it’s not because the white performers "improved" upon the originals. The music was just made more palatable to white listeners.  Consider the whole Super Bowl halftime show fiasco. The acceptable alternative to a massively popular Puerto Rican performer was a washed up white rapper?   

Here’s a thoughtful article by Sir Shambling on “blue-eyed soul” and its relationship to Black artistry, in the context of the political and social upheavals of the Civil Rights movement in the US.  The author’s admission that he had become prejudiced against white artists is kind of amusing.  As a know-it-all college kid, I once challenged a friend to name a single white blues, gospel, soul or jazz vocalist who is the equal of any of the greatest Black singers.  Being older now and not quite so sure of myself (about anything these days, to be honest), I do know at least two things I can say with a degree of certainty:  there's some great music here, and there's at least one more volume of Punks Got Soul waiting in the wings.

Songs That REIGNING SOUND Taught Us - plus more PUNKS GOT SOUL

After the Memphis bands Compulsive Gamblers and Oblivians broke up, Greg Cartwright debuted a new group called Reigning Sound with a 2001 single featuring a Gene Clark cover ("Here Without You") on the A-side, and two Cartwright originals on the flip. This was followed by a full length album (Break Up... Break Down) which further defined the sound of Reigning Sound: garage punk energy with an appreciation for mid-sixties pop and soul, and a keen sense of Memphis musical history. 

Cartwright once stated in an interview that seeing Tav Falco's Panther Burns at the Antenna Club sparked a realization of what he wanted to accomplish as a songwriter and performer.

Between 2001 and 2021, Reigning Sound released seven studio albums, three live albums, and an odds & sods comp (Home For Orphans).  The band also backed Mary Weiss of The Shangri-Las on her Norton Records comeback album, Dangerous Game (2007).  All of these albums featured Cartwright's songwriting talent and soulful vocals.  Cartwright announced the end of Reigning Sound in 2022. 

There are cover songs scattered throughout the Reigning Sound discography, most of them "deep cuts" from the 1950's and 60's.  The most familiar song would likely be "Keep On Dancing", a soul cover that was a hit for Memphis garage rockers The Gentrys.  Today's set ends with a John Felice composition that first appeared on the Mary Weiss album. The Real Kids later recorded it for their 2014 comeback album).

While we're on the topic of garage rock, punk and soul, it seems like a good time to trot out Volume #7 in the blog series Punks Got Soul.  This one is packed with 28 great songs, with many moments of "why didn't I think of THAT one before?" while they were being compiled. One of those "aha!" moments happened when esteemed reader Guypinot recently mentioned Evie Sands (whose "I Can't Let Go" was covered by the Hollies and the Dickies).

ELSEWHERE ON THE BLOG: Songs The Dickes Taught Us, Songs The Panther Burns Taught Us, and many more!

Punks Got Soul (One More Time)

 

It's another Friday night after a long, shitty week at work.  Please forgive me if I don't have the energy to post anything more creative than another number in this series of cover songs.

Once again, only some of the performers are punks.  There's some new wave, pub rock, no wave, and post punk as well.  And in addition to soul songs, there are some girl group and funk covers in there (Sly Stone, Stevie Wonder, the Chi-Lites and Charles Wright).  

Some of the songs have been featured before (by other performers).  And some of the performers have been featured before, but they're covering different songs this time!  

Wilko Johnson appears here twice (as a solo artist and with his Solid Senders).  Clive Langer is also on here twice (with his band The Boxes, and backing his former Deaf School bandmate Bette Bright).  Pearl Harbour (the patron saint of our blog) is here as well.  And the whole thing ends with some vintage Ralph Records weirdness.

Thanks to Koen for the Bette Bright track, and to Richard for the Rhythm Pigs (the boys from El Paso, not Top Jimmy's crew).  I forgot to thank Richard last time for the Rock Against Junk album, which was the source of two songs on Volume 5.  And a tip of the hat to RYP for reposting Chris Bailey's solo albums at my request.    

Jokonky's 500versary!

Today marks our 500th post. We (Jonder, Koen, and Stinky) would like to thank the readers who have followed and commented on the blog over the years, as well as newcomers.  It was March 2018 when Jonderblog started, with a post reflecting on the somber occasion of Mark E. Smith's birthday (somber because The Fall's frontman had passed away two months earlier).  

Stinky LePew joined in November 2018, adding a welcome sense of humor, a boundless imagination for creating new compilation themes, and a wide-ranging knowledge of music and musical trivia.  The two of us started a a "label" called Jon-Ky Records for our collaborative posts.  

Koen was a frequent visitor who was contributing guest posts to another music blog.  After that blog ended, we invited him aboard.  His debut was in December 2023, with the first of several excellent posts on the music of Robert Palmer.  Jon-Ky became JOKONKY, and we adopted a weekly schedule of posting (Koen on Mondays, Stinky on Wednesdays, and Jonder on the weekend).  

Today we interrupt our regular rotation to deliver a triple post.  I (Jonder) am sharing the fifth set in my series Punks Got Soul.  Today I also want to highlight a couple of my colleagues' contributions.  Koen's compilation of Chuck E. Weiss' music is one of my favorites. Another favorite is Stinky's three volume tribute to pioneering punk guitarist Brian James, who died in March of this year.  

Thanks, Jonder! And here's Koen, still very happy to be part of the JOKONKY gang. My partners' highlights are as follows:  

 

Stinky posted this great collection of classic songs from the 1960's and a wonderful write-up!  5 years ago, Jonder posted this neat Adrian Sherwood collection that seems to have fallen between the cracks, shame really, do check it out!  My own favorite post depends a lot on my mood, but for now it's the one about Garland Jeffreys. 

One of my own artistic 'heroes' is Barney Bubbles, and my contribution to this 500versary is Volume 1 of a 2-part collection of songs associated with him during 1969 to 1977, with artists range from Hawkwind to Brinsley Schwarz to Quiver to Johnny Moped... Volume 2 will be posted next Monday.

CONGRATULATIONS on 500 posts, Jonder—and thanks for letting me be a (Stinky) part of it!   Here's my personal favorite of Jonder’s posts—because I love PEARL, & because this post started our long association!  Everybody's Boring But Pearl Harbour (Part 1). My favorite Koen post: Geraint Watkins - Squeezin' & Pumpin'. And my favorite of my own posts: David Johansen - I Can't Be Wastin' Time.

Finally, here's my post for JOKONKY’s 500versary: Get In Loser, We're Going Rockabilly Vol. 6

Punks Got Soul (#4)

 

Here's the fourth (and likely final) volume of Punks Got Soul.  It's been interesting to think about musical genre.  Consider the artists covering these songs: are they punk? Post Punk? New Wave? Pub Rock? Mod? 

And the songs themselves: at what point does R&B evolve into soul, soul into funk, or funk into disco?  The Blasters got it right when they titled their first album American Music.  The Who had it right when they billed themselves as "Maximum R&B" -- music for dancing, but with amps to 11!

I've asked myself whether I'm just collecting examples of the whitening of Black music (like Pat Boone's version of "Tutti Frutti").  But then I remember that rock & roll was kind of a collision between jump blues and hillbilly music.  Maybe the best soul music needs a great singer -- but the best rock (and punk) needs a LOT of guitar. 

When all is said and done, the music is (in the words of Q-Tip) "devoted to the art of moving butts". I leave you with these confusing musings and another collection of 1980's versions of soul, R&B, girl groups, Motown, funk, and whatever other omfuggin' labels you might choose to apply to these songs. 

Speaking of moving butts, we have two more Triple Song Title collections today.  Sexy Sexy Sexy contains disco, funk, soul, and other styles of music for dancing. Cool Cool Cool is mostly alt-rock from the last two decades, for those of us too cool (or too self-conscious) to venture onto the dancefloor.

ELSEWHERE ON THE BLOG:  more Joan Jett, Dave Alvin, Barrence, John McGeoch, and Oil Tasters!

Punks Got Soul... Again!

 

Richard has been a friend of the blog for awhile now, and has provided a number of terrific guest contributions. After my last Punks Got Soul post, Richard made some excellent suggestions -- more than enough for a third volume.  So here it is!

Like the first two sets, this one includes some bands that aren't really punk (strictly speaking).  There's more from the Mod Revival (The Rage, The Chords, Dexys), more pub rock, some New Wave and some post-punk.  And once again, there are some girl group songs and others that might not (strictly speaking) be considered soul music.  But there are definitely some soul classics here as well as some O.G. punks like the Ramones, Drones, Leyton Buzzards and DOA.

Richard has also sent in a massive number of Triple Song Titles from all over the world, and it's been a few months since the last time they were shared with the faithful among you who enjoy them.  Today we've got Mas Mas Mas (mostly Spanish titles from Latin America, Europe, and the Afro-Cuban diaspora).  This music is outside my area of musical expertise, though I enjoy it.  I apologize for any mistakes or misattributions.  

Next is Surprise Surprise Surprise, which is just good ol' red-blooded meat & potatoes rock & roll, from names you know -- and some that may surprise you.  The third of today's Triple Song Title comps is called Fire Fire Fire, and it contains 20 scorchers with the same title, from various decades and genres.  Some of the blame (or praise) for today's post goes to Richard. He's like a fourth Beatle around here!

Punks Got Soul

 

In a similar vein to Steppingstones (punk covers of garage rock) and Nuggetized (punk covers of psychedelia), here's Punks Got Soul.  The first set starts out with pub rockers (Feelgoods, Hot Rods, Lew Lewis, Count Bishops). 

Then we get into the first wave of UK punk (Saints, Stranglers, Jam, Cortinas), and from there it's on to the Mod revival (Dexys, Secret Affair, Merton Parkas, Chords) and the ska revival (Specials, English Beat). Elvis Costello, Graham Parker and the Boomtown Rats are in there too. All of these genres and subgenres (including the original ska and Mod movements) were influenced by soul, Motown, R&B and blues.  

The second volume includes US artists, mixing in a bit of downtown NYC artiness (Contortions, Del Byzanteens, Talking Heads) and a couple of Dolls (David and Johnny) who first reminded us that girl groups were badass.  Plus more UK punk (Clash, Saints, Jam, 999, Boys, Upstarts), more pub rock (Roogalator, Inmates, Nine Below Zero), a few post-punks (Slits, Flying Lizards, Inner City Unit), and some new wave (Jane Aire, Japan, Original Mirrors).  Please enjoy irresponsibly!